合成器基础理论 :: The Land of Sylvarant

来源: BlogBus 原始链接: http://www.blogbus.com:80/blogbus/blog/diary.php?diaryid=485927 存档链接: https://web.archive.org/web/20041110192140id_/http://www.blogbus.com:80/blogbus/blog/diary.php?diaryid=485927

The Land of Sylvarant <<<【Sound Team JDK】发展简史 | 首页 | 你的评论 用户登陆 最近更新 合成器基础理论 【Sound Team JDK】发展简史 请你来打碎我吧―老生又谈《Samurai Champloo》OST VGM Composer Noriyuki Iwadare 西方古典音乐小词典^^ Azul La Mer Música Vgm Composer Motoi Sakuraba2 Vgm Composer Masaharu Iwata VGM Composer Yoko Shimomura Vgm Composer Yasunori Mitsuda 合成器基础理论 Many people, at some point in their digital music career, at some point become involved with software (soft) or hardware (hard) synthesizers (synths). While many beginners simply use presets on their synths, more experienced musicians learn to manipulate their synths to produce amazing sounds for a multitude of songs. This thread is for people who are interested in learning the basics of how to really create sound with synthesizers (hard OR soft). Definitions Waveform: A waveform is the mathematical representation of a wave over a period of time. There are many, many types of waveforms. The most commonly used ones in synthesis include sine waves, square waves, triangle waves, and saw waves. Each has a fairly distinctive sound, that becomes even more unique when combined with other waveforms. Amplitude: The maximum and minimum value of a wave. In other words, the combined absolute value of the highest point a wave reaches and the lowest point a wave reaches. Frequency: Measured in hertz (Hz), the number of times a wave oscillates (goes up, down, and returns to its starting point) within a given period of time. Oscillator: A device (software or hardware) that generates a waveform. Filter: An effect that changes a sound. There are many types of filters. Commonly used ones include high pass, in which all sound below a certain frequency is cut off, low pass, in which all sound above a certain frequenchy is cut off, and band pass, which emphasizes the middle frequencies. The cutoff point is often changed on a synthesizer with a knob. Resonance: Part of a filter effect. Increased resonance emphasizes certain frequencies after they are filtered, making the sound more 'unique'. High resonance values can create spikes in volume, possibly destroying sound equipment. LFO: Low Frequency Oscillator. An LFO generates a waveform at a specificed amplitude and frequency that modulates (changes back and forth) the sound. For instance, an LFO applied to the pitch of another oscillator will cause the pitch of the sound to vary up and down constantly. An LFO can be applied to many other parts of the synthesizer, such as the filter and panning, as well. Arpeggiator: Many synthesizers can apply a preset pattern of notes to a sound. The part of the device or program that carries this out is called the arpeggiator. Each time the sound is played, it will follow the pattern of notes, which varies depending on the synthesizer and the user settings. Sequencer: A program or part of a hardware synth that stores patterns of notes. Nearly all popular music programs include sequencers (FLStudio, Steinberg Cubase, Cakewalk Sonar, Reason, Music Maker, etc.). Hardware synthesizers include them sometimes as well, though they are considerably more difficult to use. A "step sequencer" is a type of sequencer where the user inputs notes in 'steps', whose length depends on a user-set interval. Analog v. Digital: Up until very modern times, analog synthesis was the most commonly used form of synthesis. Then, digital synthesis, which relied on interdependant computer processors, became popular. Now, while digital synths often have far more features, many people prefer the feel and sound of analog synths, despite their lack of certain capabilities. Many soft AND hard synths exist today that are digital, but emulate analog synths. Reverb: Short for reverberation. This term refers to the quick succession of echoes that usually occurs indoors. Many synths include spatial effect processors which emulate this effect to a user-specified degree. High amounts of reverb may make the sound appear to be played in an enormous cathedral, while low amounts may only emulate sound played in a small hallway. Reverb is NOT the same as delay, though they are similar. Delay: Another spatial effect. When a delay effect is applied to a sound, single echoes of the sound are replayed at a decreasing volume at set intervals. A real world example of a "delay effect" would be yelling in a canyon, and hearing your own voice a second or two later at a decreased volume. Legato: Also referred to as portamento (correct me if I'm wrong). A setting on many synthesizers that blends notes together when they are played next to eachother. High values of legato will make the notes seem to glide right into one another, while low amounts may only smooth the transition slightly. Monophonic vs Polyphonic: A monophonic (mono) synth uses one channel for producing sound. This means that only one note can be played at any given time by the synth. In contrast, a polyphonic (poly) synth, can support a multitude of voices simultaneously. Noise: In reference to synthesis, the combination of all frequencies played at the same volume and at the same time to produce what sounds like static. Also called white noise. Pink noise is a variant of white noise in which a filter is applied that reduces the volume at each octave. Velocity: A value set for individual notes in a sequencer that determines their volume. (note: I'm really not sure of the exact definition here..) FM: Frequency Modulation. In reference to synthesis, it refers to a certain type of synthesis in which an oscillator creates a waveform that alters the frequency of another waveform, creating a potentially more complex sound. Phasing: An effect that combines two separate waves at a user-defined rate, causing fluctuation in frequency and volume. Flanging: An effect that plays the same sound twice, with the second sound being delayed very slightly, to create a different sound. Modulator: An oscillator that will modulate (shift the frequency) of the oscillator that follows it. Carrier: An oscillator that produces an actual tone. In FM synthesis, it is the oscillator at the end of the chain. Modulation Index: A modulation reference point calculated by the modulator and used to modulate the next oscillator. Deviation: The change from the middle frequency to the max or minimum frequency (e.g. If the pitch is 50 Hz and it modulates to 70 Hz and down to 30 Hz, it'd deviation is 20 Hz). Envelope Generator: A series of definite change rates (normally one rise, and many falls) that will define the basic structure of the sound. Can be applied to any controlled parameter (such as amplitude or filter cutoff). Wavetable Synthesis: Method of synthesis that loads prerecorded sounds and digitizes them. The samples are then continuously reread, looped, and strung together at varying pitches, creating intensely unique sounds without putting a burden on the processor. Additive: A type of synthesis in which multiple waveforms, called partials, are combined to produce a new sound. The initial theory for this was developed back in 1863 by Hermann Helmholtz. He wrote a book called "Sensations of Tone", in which he proclaimed that every sound that we hear, however complex, is made up of simpler sounds, and so therefor you can recreate any sound by adding many different waveforms together. This was an important principle that is still used in modern synthesis. Subtractive: A type of synthesis in which parts of the original sound are removed, creating a new sound. This is achieved by an oscillator producing the sound, then this sound being modified by some filters. Normally a band pass, then a cutoff frequency and resonance filter. This sound is then amplified. This is one of the most popular types of synthesis today. Granular: In this method, a short sample, or "sonic grain", is played at varying speeds in order to produce a sound. The faster the grain is played, the higher the frequency that is percieved. Physical modeling: This is based on mimicing other instrument's operation in order to produce sounds that are like the original's or new sounds altogether. For instance, if you wanted to model a trumpet, you would have to have a source sound (the exciter), which behaves like the real thing, or the player's lips buzzing in the mouthpiece, then a model of the instrument's body would be made. This would be mathematical algorhythms based on how sound interacts with the real thing, in this case, the brass, valves and so on. This is fairly complex compared to most other kinds of synthesis, but it's fairly easy to program. MIDI: Stands for Musical Instrument Digital Interface. Essentially, it's a language for various electronic instruments to comunicate with each other. There's no actual sound involved; MIDI is purely data. If you have a keyboard with a MIDI interface, you can use it to control other MIDI devices, control programs that support MIDI input or even have your keyboard played by something else. VST: Short for Virtual Studio Technology. The format was probably created to save space in a studio. In essence what they are is "virtual hardware", filling the same role as physical synths, samplers, and effects modules while taking up less space. However, VST plugins can't run on their own in the vast majority of cases. They are used in conjunction with hosts, such as Steinberg Cubase or FLStudio. This way, they can respond to MIDI or other signals and be sequenced with ease. There is a great variety in what VST can do. The technology is slowly replacing hardware as an acceptable medium, although most people agree hardware just feels more traditional. Replacing, as in many VST are actually modeled after old hardware. One example being Native Instrument's B4, modeled after the Hammond B3. It's certainly lighter (by a few hundred pounds!). Another good example is countless adaptations of the classic TB-303 bassline synth to a software medium. VST comes in two flavors, effects and instruments. The i is added after the VST [VSTi] for an instrument, in order to distinguish between the two. DX holds the same kind of purpose, just written in a different language [DirectX] and not as popular as the standard VST format. Neither are proprietary. To anyone reading; please feel free to post any corrections to this post, or contribute to the thread. shylph 发表于 2004-11-09 09:28 | 引用Trackback(0) | 编辑 评论